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| Jazz Portrait - The Music of David Amram |
| David Amram |
spanyol
első megjelenés éve: 2007 |
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| (2007)
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CD |
| 5.324 Ft
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| 1. | Rue Mazarine
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| 2. | I Married An Angel
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| 3. | Hess Goes West
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| 4. | Plays This Love With Me
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| 5. | The Way You Look Tonight
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| 6. | The Birds Of Montparnasse
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| 7. | Occasion
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| 8. | Bed Time Story
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| 9. | Someday Morning Will Come
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| 10. | Lobo Nocho
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| 11. | I Let A Song Go Out Of My Heart
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| 12. | Darn That Dream
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| 13. | City Talk
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| 14. | Phipps Quipps
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| 15. | The Best Thing For You
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| 16. | Shenandoah
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| 17. | Somewhere Along The Way
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| 18. | I Love You
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| 19. | Las Muchachas Delicadas
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| 20. | True Blue
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| 21. | Harold's Way Out
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Jazz
1-8: David Amram, French horn; Bobby Jaspar, tenor sax & flute; Maurice Vander, piano & harpsichord; Eddie de Haas, bass; Jacques David, drums. Paris, July 4 & 5 (#19-21), 1955
9-18: George Barrow, tenor sax; David Amram, piano & French horn; Arthur Phipps, bass; Al Harewood, drums.
New York, January 16 (#9-10), 21 (#11-13) & 30 (#14-18), 1957
19-21: Harold Land, tenor sax; David Amram, piano; George Morrow, bass; Leon Petties, drums. New York City, 1961
David Amram (frh, p), Bobby Jaspar (ts, fl), George Barrow, Harold Land (ts),Maurice Vander (p, harpsichord), Eddie de Haas, George Morrow, Arthur Phipps (b), Jacques David, Leon Petties, Al Harewood (d)
David Amram was already a versatile composer and accomplished French horn player when he was 25. Both these qualities are evident in the first recordings he did as leader while living in Paris in 1955. By the end of the year he had returned to the United States and hit New York's exciting jazz scene. Not only did he play his horn alongside some of the jazz greats, but he also revealed himself as a highly articulate pianist. He freely admitted that his playing was influenced by Thelonious Monk but, as is clear in these recordings, the inventiveness and originality of his
own work is unmistakable. Despite his activities in the field of jazz, Amram would also become one of New York's most active and highly regarded theater composers.
David Amram's ambitious orchestral and large ensemble works are much better known than his small-combo recordings. In his early days, the pianist and French horn player did some fine hard and post-bop jazz prior to his third stream and world music excursions. These studio dates, done in Paris and New York City, are some of his first as a leader, long unavailable, and given his public lack of recognition, never properly heard. The Paris sessions from 1955 feature the great Belgian tenor saxophonist and flutist Bobby Jaspar, bassist Eddie DeHaas, and pianist Maurice Vander. Curiously, Amram or Jasper alternately take the lead lines with the other playing subtle background harmonies, but they rarely play in unison. The selections "The Birds of Montparnasse" and "Bedtime Story" have Vander on harpsichord, and they are circus-costume Kurt Weill-like, boppish but a bit goofy. The rest of the tunes are serious but playful, gliding easy swingers, all Amram originals and all with him on French horn, including the tango-ish "Hess Goes West." The lone standard is "I Married an Angel." Back in the States in 1957, Amram splits between piano and brass on the next ten tracks, and you hear the forthcoming third stream ideas initially conceived by him, Ran Blake, George Russell, and Gunther Schuller. George Barrow plays tenor sax, with Arthur Phipps on bass and Al Harewood on drums, a fine band for the time. Amram and Barrow play together on "Lobo Nocho" and "Phipps Quipps," straight-ahead swingers. The more advanced harmonics crop up on "Someday Morning Will Come"; the chamber-like, long-toned, soaring ballad take of "Darn That Dream"; the reverent "Shenandoah"; and the laid-back, cool "Somewhere Along the Way." The hippest piece, Amram's "City Talk," has a wonderful inventiveness during instantly shifting and repeated melody dynamics. The remaining three cuts, done in New York in 1961, have West Coast tenor saxophonist Harold Land within a quartet and Amram exclusively on piano. "Las Muchachas Delicadas" and "Harold's Way Out" are preludes to the urbane and slightly Latinized sound Horace Silver would carve out and make his own. Of course, this was Land's post-Clifford Brown/Max Roach and pre-Bobby Hutcherson period, and he sounds great. This CD is more than a historical footnote or a rarity, but a time portal into the fertile, unconventional compositional and performance mindset of Amram. It is a CD that all lovers of modern music should pay attention to. ~ Michael G. Nastos, Rovi
David Amram
Active Decades: '50s, '60s, '70s, '80s and '90s
Born: Nov 17, 1930 in Philadelphia, PA
Genre: Jazz
Styles: World Fusion, Bop, Latin Jazz, Jazz Instrument, Piano Jazz
Musical compartments mean nothing to David Amram, whose compositions and activities have crossed fearlessly back and forth between the classical and jazz worlds, as well as those of Latin jazz, folk, television, and film music. In addition to his rare (to jazz) specialty, the French horn, Amram has also recorded on piano, recorder, Spanish guitar, and various percussion instruments.
Amram spent a year at the Oberlin College Conservatory (1948) but graduated from George Washington University with a B.A. in history in 1952. His long association with Latin music began in 1951 in D.C. when he played horn and percussion in the Buddy Rowell Latin band while also serving as a classical horn player in the National Symphony Orchestra. Stationed with the Seventh Army in Europe, Amram recorded with Lionel Hampton in Paris in 1955, and then returned to New York later that year to join Charles Mingus' Jazz Workshop, performing with Mingus and Oscar Pettiford. Amram led a quartet with tenor saxophonist George Barrow that made an album for Decca in 1957 and later played regularly at New York's Five Spot in 1963-1965. However, Amram's career gravitated mostly over to the classical side after the 1950s, producing orchestral and instrumental pieces, incidental music (his score for Archibald MacLeish's J.B. won a Pulitzer prize), and other works which attracted enough respect to have the New York Philharmonic sign him on as its first composer-in-residence (1966-1967).
In 1977, Amram sailed on the cruise ship Daphne from New Orleans to Havana with Dizzy Gillespie, Stan Getz, and Earl "Fatha" Hines, who were among the first U.S. citizens to legally visit Cuba in 16 years. An exciting live recording of Amram's "En Memoria de Chano Pozo" was made in Havana with members of Irakere (including Arturo Sandoval and Paquito D'Rivera) and several visiting Americans, which can be heard on the album Havana/New York (Flying Fish). Amram's Cuban visit received extensive news coverage at the time and also provided many Americans with their first glimpse of Irakere.
Most of Amram's available recordings can also be found on Flying Fish. In addition, the open-minded Amram can be heard playing bouncy French horn, recorder, and piano obligatos on some bizarre 1971 tracks by beat poet Allen Ginsberg (sample titles: "Vomit Express" and "Going to San Diego"), later released on John Hammond's eponymous label.
---Richard S. Ginell, All Music Guide |
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